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There are more faces of color on TV than ever before. NBC is proud of it and it premieres April 7 right after Shades of Blue finishes its run.

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This show is about how to balance those things and make the most of our lives. We all have secrets in our pasts and hopes for the future. They gradually uncover the secrets of their pasts and begin to right the wrongs, but really it’s a story about friends whose relationship endures over time. Game of Silence is a show about friends in a juvenile detention center who had some traumatic incidents in their youth and stay friends through tumultuous twists and turns in life. What sets your new NBC thriller, Game of Silence, apart from other shows on TV? You’re on both the big screen and the small screen. It speaks to his process and his continued growth as a director.

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I think, of his body of films, we have one of his most intricately woven stories in this movie in terms of pathos and heart. There was a great atmosphere of camaraderie on the set, there were real Navy Seals and Army Rangers helping us, and he really gave us an environment that felt like a team. Michael gets bad-mouthed sometimes as being abrasive and over-passionate, but my experience was really excellent and I looked at him as a coach. Fear can be a great catalyst to excellence and I didn’t want to screw up on the set. The preparation really was the difference maker. With Michael Bay, there wasn’t a lot of time to not know what you were doing. With the clearance and the budgets they have, there are high stakes in making these movies and a lot on the line. Gary Gray and I got to work with them back-to-back. I had never worked with directors of the caliber of Michael Bay or F. What was it like working on such a big film? diplomatic compound and a CIA annex in Libya in 2012. In 13 Hours, you worked with directing heavyweight Michael Bay. The film recounts an on-the-ground view of the terrorist attacks on a U.S. I think the beauty of the story is that they overcame. I didn’t grow up to be a rapper or have the persona of a “street guy,” but I did grow up to be a guy who tries to be avant-garde in by choices and has a focused fearlessness. I’d go into the garbage with a toothbrush and re-wind the tape. As a kid, when “Straight Outta Compton” came out, my mom would go to my cassette player and take out the tape and unravel it. Seeing the film come out now is interesting to see how they were so ahead of their time. These are the reasons they remained relevant. A voice of avant-garde consciousness that was contrary to racism, brutality and Reaganomics. Let’s be honest, a lot of their lyrics weren’t necessarily kid-friendly. They were explicit but there was a voice of revolution within their work. After being in the film, what do you think of the continued resonance of the music and the message these men released? It’s a time capsule of that moment in American social and political history. Straight Outta Compton is more than a film. This is a way to affect the world and inspire my own. We all want to affect change in the world and this allows me to be an artist but also follow in the footsteps of other provocateurs who weren’t necessarily political figures. The opportunity to tell stories that provoke really analytical thought and, hopefully, action by people in society. Banks and big TV shows like Banshee and Justified.

You’ve worked for a long time on big films like Saving Mr.

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He’s also headed to the small screen with roles in both the upcoming NBC thriller Game of Silence and the HBO series Westworld. After being a part of the acclaimed Straight Outta Compton last year, he’s currently on the big screen in 13 Hours: The Secret Soldiers of Benghazi. Demetrius Grosse is in the midst of a busy spring.